This point and click game was played while reading a statement called ‘Curatorial Consciousness’ describing the development of personal ideas regarding ‘the curatorial’ thereby being about the curatorial and itself curatorial in the sense that it takes form as a constellation of ideas.

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Performed 28-11-2017 at Glasgow School of Art – Curatorial Practice presentations to MFA

Well, I guess these kind of presentations already raise one question.
Are we allowed to show unrealized projects as part of our practice?
Whereas while they may not have been part of an artistic discourse,
They have very well been part of a personal artistic development.

Gilles Deleuze and Claire Parnet, Dialogues II, (1977) Chapter: A Conversation: What Is It? What Is It For? ✔️

George Bataille, Unfinished systems of nonknowlege (2001) introduced by Stuart Kendall. (From this book I will read: Introduction✔️,Socratic college, Method of Meditation, Concequences of Nonknowledge, Nonknowledge and Rebellion, maybe some things that catch my interest while reading the book.)

The ‘Word/Mouth body’ was formed for the event; this attracted curiosity and opened up the dialogue to interested wider audiences. The body consisted of the group, the artist and our methods of communication. The group communicated about our process and ideas through our network. The identity was also followed through on Instagram as a platform as our main social platform. The instagram functioned as a way to test and share ideas or references that did not have feature in the publication and as a way to visualise how these ideas were flowing between the members of the group.

Sarah Pierce (b. 1968) Lives and works in Dublin. Since 2003, Sarah Pierce has used the term The Metropolitan Complex to describe her art. Despite its institutional resonance, this title does not signify an organisation. Instead, it demonstrates Pierce’s broad understanding of cultural work, articulated through methods that open up to the personal and incidental. Characterised as a way to play with a shared neuroses of finding one’s place (read complex in the Freudian sense), whether a specific locality or a wider set of circumstances that frame interaction, her art considers forms of gathering, both historical examples and those she initiates. (…) The processes of research and presentation that Pierce undertakes highlight a continual renegotiation of the terms for making art: the potential for dissent and self-determination, the slippages between individual work and institution, and the proximity of past artworks. (…) Pierce has described her work as part of a feminist legacy, “deeply committed to a radical turn away from the cult of the artist and individual achievements towards the signs and symbols of a system of art making.”

Performed 18-09-2017 in Glasgow School of Art – Curatorial Practice class

Well, I guess these presentations already raise one question.
Are we allowed to show unrealized projects as part of our practice?
Whereas while they may not have been part of an artistic discourse,
They have very well been part of a personal artistic development.